Così lontano così vicino

This movie is exceptional. It never fails to make me cry. It is a contemporary Epic Poem about an Angel who enters time and becomes human in order to become more skillful at his eternal task. It is long (nearly 2.5 hours) and probably a little challenging for short attention spans. The cinematography is stunning. The script is incredibly complicated with hidden messages and multiple levels of symbolism. It won the Prix du Jury at Cannes (1993). It doesn't suck.

It's difficult to make a sequel as good as the original. If it's done in the same style, it becomes a poor shadow. Here, Wim Wenders has made something different than in "Wings of Desire:" what I consider a comedy of a misfit ex-angel, to counter the desire of an angel to become human in the other film.

Near the end of the other movie, we saw one of the angels, Damiel, become human for the love of a beautiful trapeze artist. In this film, we see the other angel, Cassiel, become human by accident as he wanted to help people. As much as he wanted to fit in with our world, the more he tried to do good, the worse trouble actually made of things. He often quotes the Lou Reed song he heard: "Why can't I be good, make something of this life?"

There is a cameo appearance of a world leader, when Mikhail Gorbachev (filmed the summer after resigning as Soviet president) ponders the age-old question about the meaning and purpose of life; or two leaders if counting that the guard dog's name is Khadafy. There are jokes about getting lost between East and West, since the Wall no longer was there as a landmark. But there is the serious side at the beginning, of the war and the Nazi past, which is a little hard to follow. I almost forgot about it as I got caught up in the humor of the fallen angel, but even that had the darker side of an evil angel who was leading him astray. Yet the ending tied everything together nicely.

Like "Wings of Desire," there are nice transitions between black and white, which is how the angels see the world, and color, for how humans see things. There is also a poem started at the beginning, about humans being everything to the angels, when Cassiel looks down from the statue to "you whom we love." The angels are just the "messengers who bring light to those in darkness." The poem is repeated at the ending, adding that the message is love.

The angels lament that humans can only believe what they can see and touch. The Wall fell, the tangible symbol of the division between East and West, yet still one driver whose thoughts we heard couldn't see what the difference was between the two areas; freedom can't be seen or touched. Love, the angels message, can be neither seen nor touched, yet that, and not "blood and steel" (as said the Russian poet and diplomat that Gorbachev quotes), is what is needed for there to be peace.

This film is about passion. A flicker on the eyes of an angel, our brief lives are as unique and intense as they are ephemeral, and time itself is the fire that burn our passions and desires. Complex and multicultural, the film is disturbingly deep as it is light, a contrast of innocence and evil, showing how the Faust compromise can be present and right/wrong can become difficult to define. Also, the participation of Lou Reed and Peter Falk as themselves bring Faust to reality, as a mirror to ourselves. The deeply german Wenders pay a compliment to Gorbatchev for the fall of the Wall, maybe telling us the duality of time, that can be good and evil like the faces of a coin. Wonderful piece of art.

Although it has received mixed reviews by critics, this follow-up to "Der Himmel über Berlin" (1987) is a deeply moving and beautiful film. Wenders explores the polarities which exist in a newly unified Berlin and in so doing examines some of the polarities which exist in life itself. As "Cassiel," Otto Sander has given us another endearing Wenders protagonist who learns all too quickly about what life (and time) can present upon an individual. Laurent Petitgand's stunning musical score enhances the sublime images photographed by Jürgen Jürges. Although "Der Himmel über Berlin" (1987), is an almost mandatory pre-requisite, "In weiter Ferne, so nah!" (1993) is a vastly different film which proves itself in its own right.

Cinema has produced many wonderful films over the past century or so, but when looking at the various elements of film combined here, there is no other movie which touches me quite so positively, quite as deeply as this one.

"Faraway, So Close!" is filmmaker Wim Wenders' follow-up to his well-regarded "Wings of Desire". Once again, an angel (Otto Sander as Cassiel) chooses to descend from the heavens and live among humans. Cassiel reunites with old friend Damiel (Bruno Ganz), getting involved in the lives of Damiel & his family and assorted others. Human life, he finds, is full of all sorts of ups and downs, and is notable for its unpredictability.

With Wenders making philosophical musings on the nature of time itself, he creates a rich gallery of engaging characters, all acted to perfection by a stunning international cast (Peter Falk, Lou Reed (playing themselves), Willem Dafoe, Horst Buchholz, Nastassja Kinski, Heinz Ruhmann, Rudiger Vogler, etc.). Even world leader Mikhail Gorbachev turns up in a quick cameo to ponder the meaning of it all. The script is very literate and heartfelt, and this viewer couldn't help but be moved by the ever-twisting tale, right up to the ending.

Granted, such a film isn't for everyone, especially since "Faraway, So Close!" runs close to two and a half hours. It's beautifully made, however, with seamless transitions from black & white (the way that the angels see the world) to colour and then back again. And the score is wonderful, with soundtrack contributions by Reed (who appears in concert), U2, and Johnny Cash. The story may not always be completely absorbing: this viewer enjoyed the tale more in the early going, as Cassiel adjusts to living as a human, before the plot gets bogged down in an effort to foil master criminal Buchholz.

Even with its imperfections, this IS fairly powerful stuff, and a worthy viewing for lovers of European cinema.

Seven out of 10.